Bloody red and white sacred
use of light is clearly one of the highlights of the film.
In the scene where Chris and Chidon prepare to enter the prison aisle, the warm color is used-red light (the front and back scenes are all cold colors, mainly gray, white, and green). But the feeling is more like filtering through the lens with red filter paper, and the whole picture is immersed in "blood". The red picture originally had a disturbing psychological effect. At this time, it was necessary to "listen" to Dr. Chidon's narration about how Hannibal ate the jaw, eyes and nose of a female nurse raw. It was especially impressive. Fear and boredom. The red color of the picture is obviously intended to give a vivid interpretation of Hannibal’s bloody behavior, and to let the protagonist and the audience recognize Hannibal from the side. Without seeing the man’s psychological fear, the character image is half full. This application is abnormal. The power of color and language to shape the image is indeed an extraordinary effect.
White has always been the representative color of God, and white light is the light of God's love, the embodiment of love. "The Silent Lamb" can't get rid of its strong religious flavor in how to say it! And this kind of religious consciousness was already well manifested when Kris met Hannibal for the second time. At the beginning of the conversation, we will notice that there are no lights in Hannibal's prison (Hannibal "hides" in the dark to prevent us from seeing clearly), and it's dark! After Kris talked with him for a while, the light suddenly lit up dramatically, and the white top light was used. Under the shining of white light, Hannibal looked unusually tall and straight, and gave a sense of sacredness. In my impression, when reading the "Bible", this style is obviously God's patent. The second use of white light is to highlight the dark shape-the crucified "Jesus" tied to the "cross", but he is like a beautiful butterfly that has metamorphosed into it. Is there any Jesus passing by? Does the meaning of "transformation" and resurrection exist? (Because the "lamb" in the Bible that I understand is a sign of Jesus Christ, not all beings) From this perspective, Hannibal is obviously the incarnation of Satan, and he is slaughtering his "lamb"! Most people generally agree with the statement that "all beings are lambs and God is the shepherd". If so, how do you explain Hannibal's godlike appearance? Or he is the god transformed by the devil to confuse the world. For this view, I can only understand this: In the "Bible", God has destroyed mankind several times in order to redeem sinful mankind. It can be seen that under certain conditions, God will also slaughter his "lamb"! If the "lamb" in the movie represents all beings and the fear and crisis behind the silence of all beings, then Hannibal has become a community of contradictions. On the one hand, he was ruthlessly poisoning creatures (slaughtering lambs), on the other hand he saved Chris and Catherine (salvation lambs). If red represents Satan and white represents God, then Hannibal is like the incarnation of the devil and God, and the relationship between him and the "Lamb" is always cut and chaotic.
Frequent close-ups
Close-up shots are the most used lens language in this movie, so the facial expressions of the characters have become the most important tool for narrating the plot. I really have to sigh at the acting skills of Anthony Hopkins and Judy Foster, which completely relies on the subtle facial expressions (including muscle twitching and eye movement) to interpret the characters' hearts. Hopkins' evil eyes that can see through you and help you release your soul (feel the picture on the right) (this kind of perverted and dark eyes were inherited and carried forward by Edward Norton in the later "First Fear" !) How can you not let you be fascinated by him (I like it!). In my impression, there is a very interesting phenomenon in portraying the camera language when Kris and Hannibal meet and talk four times: when Kris is a close-up lens, Hannibal is a close-up lens; when Kris is a close-up lens When the close-up shot, Hannibal became a big close-up; when Kris turned into a big close-up, when it was over, Hannibal only had his eyes, nose and upper lip barely squeezed in the lens (this At that time, every pore of Hopkins was acting). The audience and Hannibal are always so close, his sharp gaze catches everyone’s heart, but the audience and Kris are always at a distance. Is this expressing Kris’s trauma from childhood (in (Subconsciously) to protect the psychological distance generated by oneself. But I have another understanding. As the close-up shots increase gradually, does it also indicate that Kris is approaching Hannibal step by step, and it is also a sign of her pace of releasing her mind (the last time we met, portraying Kris Liz’s shot was pushed from the middle shot to the close-up), until the moment their fingertips touched... Chris and Hannibal had completely released each other.
Montage's collision art and breathtaking long shots
At the end of the story, the parallel montage of the FBI’s siege and Kris’ finding the murderer’s home is the essence of the film’s montage language. General structure: quiet house-the murderer took out the moth pupa-FBI surrounded the house-the murderer helped the moth pupa metamorphose-surrounded-the murderer-further surrounded-Catherine threatened the murderer-ready to act-the murderer screamed ...FBI presses the doorbell—the bell in the murderer’s room is very harsh—the FBI presses the doorbell again—the murderer opens the door, Kris! ——FBI broke in, nothing happened! A series of short shots are used here to connect two different scenes at the same time: a bright and quiet house, a cold and cold murderer’s room accompanied by annoying music, butted together hurriedly and quickly, with a speed like a heartbeat. The director never thought about giving the audience a chance to breathe and think. Thinking that the joy of solving the case and the opposite result, the director played the audience well, and then? The director unceremoniously once again put the audience and Kris in the same helpless situation: facing the murderer, close to death (but in my opinion, the final "murderer opens the door" and "FBI breaks in" butt The order is not good. If you break the door first and enter a void, and then the murderer opens the door, the surprise and psychological collision will be greater). Next, I have to mention the only long shot in the film: introducing the murderer's home for the first time. This scene (always accompanied by music and a screaming female voice) begins with the subject moth pupa. After the camera stays for a second or two, it slowly moves to the right, and the transformed butterfly enters the camera. Then, the camera was pulled back all the way, and the camera looked around like human eyes, swords, female models! Cold, gloomy, dark, crowded, and messy are the generalizations of everything we see. When the camera was pulled to the end again, the direction was forced to shift, and the murderer's back (the snow-white body was very conspicuous in the cold tones) constituted the visual center of the picture, what he was doing seriously! The camera continued to move forward, trying to get closer to the murderer, but when we were about to see what the murderer was doing, a rich dog (the murderer’s only love) diverted our attention, following it we came to a deep well (we are gradually Close to the tearing voice), but the director obviously didn't want us to see the desperate figure of the girl in the well, the camera stayed on the edge of the dry well (because the right to reveal the mystery is reserved for the next news report)! Long shots are the best language for reproducing reality. Obviously, the director has already expressed everything he wants to express: through the scene, what kind of person the murderer is.
The murderer is watching you
at the end of the film, the director "teasing" the audience again, he turned all the audience into a murderer! In the darkness, the murderer with night vision goggles followed closely behind Kris, patiently and meticulously observing the lamb in hand, and was ready to deal with her at any time. At this time, the camera's point of view is constantly changing. For a while, it is the objective point of view of the camera, and the other is the subjective point of view of the murderer, and the audience is forced to accept their murderer status. But at this time the psychological effect of the audience is peculiar, because although he is a "murderer", he is obviously worried about Chris. It is quite peculiar to think about a murderer who is worried about his prey. Interesting thing. In panic and worry, under the director's guidance, the audience's spontaneous psychological supplementation helped the director draw a perfect ending to the film.
"The Silent Lamb" conveys the hidden meaning behind it to the audience through its superb image art, and skillfully manipulates every nerve of the audience. It thoroughly makes all "lambs" (film critics or film critics) It is the audience) Can no longer remain silent!
(December 03)
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